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FILMMAKING www.postmagazine.com 28 POST JAN/FEB 2023 work, but on this project, even more so than usual," says Budelmann. "It makes so much difference. It doesn't just underscore; it also determines se- quences' length, structure and dynamics. Image and sound were mutually dependent. We already worked on a detailed sound design in the edit, including basic changes in perceptual perspective and adding effects. The amazing sound crew, with sound designer Frank Kruse, has further developed these sketches and created this intense sound- scape that pulls the audience right into the trench." Budelmann also has high praise for composer Volker Bertelmann. "He made us this unique score that creates a perfect balance of dramaturgical support and distance without manipulation. It was a great collaboration and an inspiring experience." SOUND PRODUCTION SOUND MIXER VIKTOR PRASIL Viktor Prasil served as the film's production sound mixer and employed a range of record- ers that included the Aaton Cantar X3; Sound Devices 688 and MixPre-10 II; and Sony PCM-D50. Microphones included DPA 6061 and 4061 lava- liers, while boom mics included Schoeps CMIT-5U (primary), MK41 and MK5; Sennheiser MKH60 and MKH416 (both for the gunfire and explosions); and the Holophone H3-D for multichannel audio. "What was essential to shoot the movie was the preparation," he recalls. "For this kind of film, you have to plan everything in advance. Once the bombs start going off, it's too late. So we started prepping many weeks before the shoot. We set up radio mics into the helmets. We found out that the metal army boots are super noisy, so we made 200 pairs of rubber soles. We built an acoustic wall be- hind which we put trucks with water for scenes in the rain. We also made portable sound-absorbing blankets for the interiors with a long echo." In trench and battlefield scenes, each of the main soldiers wore two radio mics — one in their costume and one in their helmet. "There is a lot of creative work with the sound of the soldiers' breathing," Prasil explains. "This particular breathing, roaring and crying draw the viewer right into the action. Helmets were abso- lutely essential for us to achieve this! We placed Lectrosonics SMDWB transmitters in the helmets, for which we made special pockets in the inside of the helmet, so that if the helmet fell on the ground or the actor took it off, the transmitter would not be visible. As a microphone, we used one of the thinnest and smallest lavalier microphones — the DPA 6061. This one was equipped with wind pro- tection and properly matted to be as unobtrusive as possible. It was also important to find the right spot to place the microphone, because one inch was the difference between making the micro- Bertelmann The feature was mixed in Berlin at The Post Repubic.